Dobbertiner monastery church

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Dobbertiner monastery church

The striking center of the entire monastery complex in Dobbertin is today the neo-Gothic redesigned monastery church.

Building history

The first church, presumably without a tower, was built on the highest point of the peninsula, which in the founding phase of the Dobbertin monastery had a stronger ground relief, which was removed and leveled to create a level building site. The choir of the church was barely more than 15 m away from the original eastern shoreline of the peninsula. The oldest preserved building structures on the south facade of the church, Gothic services with vine leaf decoration, date from the last third of the 13th century. During the construction-accompanying archaeological investigations from 1994, no traces of a wooden church were found. The first church building, which began around 1280, was probably a stone building. During later securing and renovation work, older building structures were found on the foundations on the south side.

The monastery church of Dobbertin has so far been largely ignored by research into medieval architectural history, today the neo-Gothic redesign by Georg Adolph Demmler, based on the Friedrichswerder church by Karl Friedrich Schinkel in Berlin, dominates far too much . In the core of this almost complete sheathing, large parts of the medieval hall church, which was previously considered a building from the middle of the 14th century, have been preserved. It was only with the excavations that were carried out during the renovation in 1994 that it became clear that it must be an older church.

As a monastery, Dobbertin was the only Benedictine monastery in the Schwerin diocese and in all of Mecklenburg. The first provost from 1227 was the religious Theodoricus / Dietrich Thedelinus prepositus fratum de Dobrotin . He then went to Rühn Monastery as provost . From 1228 Ulrich / Olricus was named as a prepositus. With the conversion into a nunnery of the same order around 1234 Dobbertin received the right of free choice of provost and prioress . This order is at the same time a ranking and underlines the importance of the provost as a man in a women's convent. He also took a central position in worldly matters of the monastery and kept his own seal . After 1300 a Priorissa Gertrudis was mentioned for the first time.

Building description

Main portal

The monastery church is now an elongated, single-nave brick building with a tall, slender interior of seven bays with a 5/8 choir closure, the core of which was still the 14th century. The interior is vaulted with ribs and is defined in the western part by a massive gallery , the nun's gallery . The ceiling of the two-aisled lower gallery with steeply rising ribbed vaults rests on octagonal granite columns with simple capitals .

Exterior

Fial towers and crosses of the monastery church 2015

The original stone building of the monastery church - probably without a tower - was built at the end of the 13th century. It began around 1275 as a three-aisled church, as evidenced by the arcade arches built around 1280 with elaborate brick decoration. After the conversion into a nunnery, there was a change of plan for the church. The planned three-aisled monastery church was built after 1280 as an elongated vaulted hall with a nun's gallery occupying four bays and narrow chapels and was probably completed in the late 13th century. After the completion of the four cloister buildings with the cloisters , no further changes to or in the monastery church have survived until the Reformation and the dissolution of the nunnery in 1572.

In 1649 the tower of the church was badly damaged after a heavy storm and large parts of the roof were missing. After a "messy priest election" carried out in 1738, the provisional and later monastery captain Jobst Hinrich von Bülow had the upper church with the nuns' gallery restored from 1746 to 1749. Pastor Christian Hintzmann consecrated the church on July 29, 1748.

The medieval church of the monastery was expanded and rebuilt from 1828 under the direction of the later Schwerin master builder Georg Adolf Demmler . He used a design by the Berlin architect Karl Friedrich Schinkel , as evidenced by the inscription on the plaque with names and dates on the southern spire. The outer medieval brickwork of the nave was encased in neo-Gothic brick architecture and completed in 1851. Schinkel's designs for the Friedrichswerder Church in Berlin, also designed as a hall church, served as a model . The facades of the Dobbertiner church were structured by slender buttresses, high pointed arched windows and balustrade galleries. The conclusion on the gables and turrets branch form finials from terracotta .

The extension for the organ gallery on the north facade has a large circular window with a pentagram as tracery . The five-star on the so-called Demmler gable is intended to document Demmler's affiliation to the Freemason lodge Harpokrates zur Morgenröthe in Schwerin.

The west portal of the double tower complex was completed in 1837 and both towers with their eight-sided, solidly bricked cone helmets were provided with gold-plated crosses. The towers are connected by a platform on which the striking mechanism for the church clock stands. The large pointed arch above the portal of both passages is flanked on the side by buttresses with pointed helmets and finials. The passageways are framed by semicircular columns with capitals decorated with leafy tendrils . Above you are three circular windows with fish bubble tracery . The monastery rulers entrusted the Dobbertiner master mason Christian Johann Rezlaff and his helpers with the further external church renovation.

In 1839 the proposed renovation and expansion was approved by the state parliament in Sternberg on November 13th after the cracks presented. From 1854 to 1857 the neo-Gothic interior was completed. Since Demmler, as a Social Democrat , was dismissed from civil service in Schwerin in 1851 by Grand Duke Friedrich Franz II, a contract was signed in 1853 with the Wismar architect and private builder Heinrich Gustav Thormann to renovate the interior for four years. Responsibility lay with the monastery heads with the monastery captain Otto Julius Freiherr von Maltzan and the provisional deputy land marshal Johann Heinrich Carl von Behr and district administrator Hans Dietrich Wilhelm von Blücher. Since 1854, the monastery building conference with the monastery chiefs, the architect Heinrich Thormann, the pastors Christian Heinrich Mahn and Friedrich Pleßmann, the master builder, have been responsible for the entire construction supervision and equipment with the pulpit, the altar, the organ, the stained glass windows, the floor and the stalls Theodor Krüger from Schwerin and the secret archivist and curator Georg Christian Friedrich Lisch from Schwerin are responsible. The monastery heads were accountable to the annual state parliaments and the local inspections were carried out by the state parliament committees .

The inauguration of the newly designed monastery church took place on the 18th Sunday after Trinity on October 11, 1857 at half past ten o'clock in the morning with almost a thousand people on the monastery square in front of the church.

The windows of the nave were not renewed during the renovation. In 1876 the large rectangular panes fell into the church in strong winds, as the wooden frames were also damaged. After the renovation, the remaining window panes should be used in the patronage church of Mestlin . In 1877 the first five lead windows with diamond glass were installed, for the rest the molded stones on the window reveals were missing.

North facade state 1994

In the years from 1922 to 1928, various damage occurred to tracery, parapets, fial towers, finials and the crowning of the facades and towers. From 1929 to 1930 the repairs were carried out in a partly simplified form. From 1945 to 1947, Soviet soldiers used the monastery as a barracks. The inner southern tower of the church was badly damaged by a fire in 1946 and parts of the adjacent eastern enclosure were destroyed. In 1977 the entire monastery complex with park and cemetery was placed under monument protection.

For decades, numerous damage, especially weather damage to the facades, the roof structure and the vaults, has been discovered, which in 1979 led to the state monastery church being closed by the building authorities. From 1990 to 2006, security and repair work was carried out on the facades of the monastery church and the twin tower system. The internal restoration has been continued since 2016.

Interior

Tower porch

View of the nun gallery, 2014

If you enter the vestibule from the west portal of the twin towers, the room is divided into a north and a south. This was necessary when the towers were built, as two ribs and a belt of the vault of the lower church are located in the middle of the west wall of the church .

The original cast-iron inscription plaque with the names of those responsible for the construction is located above the entrance to the tower ascent with its single-leaf, studded door. It is a valuable authentic testimony and document of the renovation work of the 19th century. It reads: With the approval of the Landstaende Mecklenburgs the construction of the tower of Dobbertin started in the year MD CCCXXXVIII (1828) and was completed in the year MB CCCXXXVII (1837) during the construction of the monastic convent Mrs. Domina Elisabeth Friederika von Rohr were provisional of the monastery Mr. Hans von Blücher on Suckow Mr Heinrich von Barner on Bülow until MD CCCXXX (1830) Mr Victor von Oertzen on Leppin until his death MD CCCXXXV (1835) Baron Karl Le Fort on Wendhoff since MD CCCXXXVI (1836). The drawings for the construction are from Oberbaurath Schinkel in Berlin, the execution of the master builder Demmler in Schwerin Retzloff master mason of the monastery office. In 2004 a copy of the memorial plaque was installed in the original place on the tower gallery of the southern spire.

There is a pointed arch window on the north and south sides. The pointed arched corridors with stepped cloaks divide the tower vestibule into three bays with groin vaults. The two double-leaf doors decorated with leaf motifs establish the connection to the lower church and thus to the church interior.

In 2019, the grave slab of the master mason Christian Retzloff (1803–1874), which was found in the monastery cemetery, was installed in the southern porch of the tower. At the suggestion of the then 25-year-old Schwerin master builder Georg Adolf Demmler, after his wandering from 1828 to 1858 he worked as the chief master mason and foreman in the construction of the double tower complex and the cladding of the monastery church. After the plastering and painting work carried out in the tower vestibule in spring 2020, three new slim rectangular chandeliers were installed, which were manufactured by the glazier Luise Brügemann and the carpentry Thomas Fischer with LED technology from Diodela GmbH Berlin based on a design by the restorer Andreas Baumgart .

sacristy

Before the external redesign of the church there was already a sacristy in the same place . It was used for confession and was furnished like an ordinary room, as noted in the protocol of the church visit of 1811. Today's square room of the sacristy has buttresses in the four corners of the room that support a star vault . Opposite the wooden door with tracery ornamentation, a pointed arched window illuminates the sacristy. It consists of two lancet arches over which a four-petalled flower ornament appears. Since, according to the fifteenth thesis on the Protestant church building, the sacristy is to be located as an extension next to the choir, it should be heated, bright, spacious and dry, a heater was installed under the sacristy in 1884 for 32,411.16 marks. The chimney built for this on the south facade up to the height of the Fialtürme was shut down in 1992 after the installation of an oil heating container and demolished with the facade renovation in 2004. Even the prayer boxes on the nuns' gallery were heated with steam pipes in the winter months. When a new heating system was installed after 1965, the floor in the sacristy was raised and completely renewed in March 2020 after various structural and moisture damage.

Furnishing

Of the oldest still existing medieval pieces of equipment, apart from the sandstone baptism, the chasuble cross and the rest of a triumphal cross, only a few have been preserved. The Schwerin State Museum still has valuable medieval sculptures from the former Dobbertine Benedictine nunnery, which they acquired between 1834 and 1844. They are the three disciples Johannes , Jakobus and Peter of a group of Mounts of Olives around 1430 from a Rostock workshop. Saint Anna Selbdritt carved in oak around 1470 , a Vesper picture carved in oak around 1450 and a bearded head of a grave Christ with pillows belonging to a life-size figure of Christ around 1460. These hard and tough oak sculptures were part of the jewelry of North German monasteries and churches, made in Mecklenburg sculpting workshops.

The interior design of the church comes from the second neo-Gothic restoration from 1854 to 1857.

Church stalls

Conventual women at prayer, 1932

The church stalls in the nave were made in 1857 by the Dobbertiner master carpenters Larisch and Petrow from oak. A distinction was made between two groups for the seating in the nave. On the one hand for the parish of the monastery village and also for the ladies of the convent as well as for high-ranking personalities such as the monastery chiefs and their guests. The parish chairs stood at right angles to the longitudinal axis of the room and filled the fifth yoke, and partly the fourth and sixth yoke of the nave. Its carved cheeks run upwards in a cross composed of vegetable forms. The cheeks of the pews for the convent and the higher-ranking personalities show foliage and fruits in the manner of the upper end of abbot's and bishop's staff. They have been carved richer and more diverse than the uniform cheeks of the parish chairs. The benches partly filled the sixth yoke, partly the crossing of the nave and the seats were covered with continuous seat cushions, the surface of which was made of red velvet. In the monastery church, the 14th thesis on Protestant church building was only partially implemented, because the pulpit is in the back of the south-facing benches. The required central aisle and the small space in front of the entrance to the chancel was created.

Baptismal fonts

Early Romanesque baptismal font in front of the stairs to the Klosterhaptmannshaus
Sandstone funnel from 1586
wooden baptismal font from 1877

Hardly noticed, the oldest early Romanesque baptismal font of the monastery still stands on the lawn in front of the monastery captain's house. The 66 cm high and 71.5 cm wide granite funnel has experienced many uses over the centuries, including a flower pot. In April 1939, Agnes von Bülow, head of the district women’s association, complained to the State Ministry in Schwerin that this very ancient baptismal font was too big to be used as an ashtray for the cab drivers.

One of the remarkable pieces of equipment in the monastery is the sandstone baptism from the post-Reformation period at the entrance to the lower church. It is one of the most important examples of Protestant church furnishings in Mecklenburg from the second half of the 16th century. In terms of art history, the baptismal font is to be classified in the vicinity of the nearby Güstrower Hof of Duke Ulrich zu Mecklenburg and the artists working there, stylistically as a typical work of the Mecklenburg Renaissance with Dutch influences. The font comes from the workshop of the Dutch sculptor Philipp Brandin . It is a sandstone baptism in the shape of a vase, chalice-shaped and richly decorated with plastic pilasters, fruit pendants and fittings and a carved oak lid on which a dove sits as a symbol of the Holy Spirit. It was donated in 1586 by the privy councilor and court marshal Joachim von der Lühe auf Püttelkow, who was head of the monastery in Dobbertin from 1570 to 1588. The corresponding pewter baptismal font was provided with three maker's marks, the number XIII and the year 1586. Until the extensive internal restoration in 1854, the baptismal font stood in front of the pulpit altar, which is now on the nuns' gallery. In 1990 the 430-year-old oak lid, unfortunately without a pigeon, was saved from being burned out of the coal cellar under the sacristy by the then monastery construction manager Horst Alsleben . At the end of July 2020, the restored oak lid with the dove carved by the Schwerin wood sculptor Mandy Breiholdt was placed back on the baptismal font from 1586.

The head of the monastery under the monastery captain Count von Bernstorff reported to the state parliament on November 15, 1876 in Malchin that there was an old, unsightly baptismal font made of sandstone on the tower door of the Dobbertiner church, which was rarely used there. Therefore, it is desirable to place a movable baptismal font carved from oak near the altar. A worthy baptismal font had been offered that would be bought after approval. In 1877 the font carved by the Güstrow sculptor Adolph Siegfried was erected for 250 marks.

Triumphal cross

The remains of a medieval triumphal cross found in 1996 by the voluntary monument curator Andreas Preuß above the bell cage in the southern church tower were attached to the southern wall in the lower church on March 5, 2020 after the restoration work was completed by the restorer Andreas Baumgart. According to the dendrochronological investigations in February 2020 by the Schwerin building researcher Tilo Schöfbeck, the oak cross could be dated to 1310/20 and would therefore be the oldest surviving piece of furniture from the old monastery church.

Chasuble cross

A framed chasuble embroidery on a renewed velvet base with the crucifixion group from 1520 hangs above the ogival plaster mirror at the entrance to the sacristy. The chasuble cross, 1.41 meters high and 0.76 meters wide, is a remnant of the medieval furnishings of the monastery church from the nuns' times. Whether it was donated after 1504 by Provost Johannes von Thun , who was bishop in Schwerin after 1504, is not documented. It is believed that it was the work of the nuns under their then prioress Nobility of Cramon around 1490. However, it is not substantiated by the meager file situation. The chasuble cross shows Christ crucified in the middle, below are Mary and John depicted, above the crucifix is ​​the enthroned God the Father, in the arms of the cross on the left Peter with a key and on the right Paul with a sword and at the bottom Saint Christopher with the baby Jesus.

Shortly before completion of the church restoration, on September 22, 1857, the Secret Archives Councilor Dr. Friedrich Lisch from Schwerin arranges for the late medieval chasuble cross to be placed under glass for better protection after it has been preserved. Carpenter Christiansen made the frame out of oak wood with the clamping, the polished one delivered by express mail from Hamburg, used Glaser Alpenroth, the gilding and painting of the frame was done by Hofvergolder Friday and the velvet was supplied by the merchant Karl Voss. Lisch even had a special box made for the transport from Schwerin to the monastery church in Dobbertin.

Glass and stained glass windows

Gaston Lenthe's painting of the crucifixion in the winged altar is designed correspondingly with the glass paintings in the five side windows of the choir. The picture in the three-frame central window shows the resurrection and ascension of Christ . The design by the Schwerin court painter Lenthe was carried out by the Schwerin glass painter Ernst Gillmeister and used before the church was consecrated on October 11, 1857. The other four side windows were also made by Gillmeister according to the drafts of the history painter Gustav Curt Friedrich Stever . The stained glass in the northern windows with David and Elias were used in 1864, with Abraham and Moses in 1866 and in the two southern windows with Peter and Paul in 1864 and with Augustine and Luther in 1866.

pulpit

pulpit

Like the altar, the pulpit is also a design by the Schwerin court building council and director of Mecklenburg church buildings, Theodor Krüger . The hexagonal pulpit foot and the pulpit basket made of oak were made in 1857 by the Schwerin master carpenter Johann Christiansen. The monastery office sent a car to Schwerin to fetch the pulpit from the master carpenter. The railing of the stairs is decorated with rich ornamental carving and a pinnacle marks the entrance to the stairs.

The secret archivist Friedrich Lisch from Schwerin, who was in charge of the preservation of monuments and the artistic supervision of the interior restoration of the church, recommended in 1855 the sculptor Gustav Willgohs , who was born in Dobbertin , to model the sculptures on the pulpit according to Theodor Krüger's pulpit designs. On September 19, 1855, Willgohs commented on the drafts that Moses and his tablets of the law would bring a very good biblical story to the pulpit. Moses as the lawgiver and founder of the holy scriptures, Isaiah as the greatest prophet, John as the herald of near salvation and Paul as the perfecter and closest to us. If possible, the pulpit should be exposed in order to make a worthy impression. After details of the column shaft, the stairs and the canopy, Willgohs ended with the words: But I do not want to have said any of this, because I am not an architect and only speak as the eye tells me. The four pulpit figures of Moses and Isaiah from the Old Testament, carved in oak in the arched fields, stand for law and prophecy and John and Paul from the New Testament for the proclamation of the fulfillment of God's word. They were carved in 1857 by the Berlin sculptor Friedrich Dietrich based on Willgoh's designs and models. These sculptures also found recognition at the Mecklenburg Art Exhibition in Schwerin in 1857. Above the pulpit there is a sound cover with a veil and a high vent. The soffit is carved.

The pulpit was set up on the south side of the church on the front wall of the Vierungsjoch. With this, the tenth thesis of the Protestant church building was also fulfilled here, which says that the pulpit should not be in the choir, but at the seam between this and the nave on a pillar of the choir arch to the outside, i.e. towards the ship.

Evangelists

Evangelist Matthew

The evangelists standing in the choir on four pillars under canopies , Matthew and Luke on the north side and Markus and Johannes on the south side, were created in 1856 as plaster sculptures in sandstone-imitated colors by Gustav Willgohs. The Marchsche Tonwarenfabrik in Berlin-Charlottenburg delivered the four pillars in November 1857 in three pieces with shaft and capital based on detailed drawings by Heinrich Thormann . On September 26, 1857, Ernst March wrote to master builder Thormann that the columns and canopies had already been formed, but would not be finished by October 9, 1857.

After their restoration by Andreas Baumgart, they were placed back on the four pillars in the choir in 2007. Willgohs donated the four evangelists to the monastery out of gratitude for the financial support of the monastery head during his studies in Berlin. The original sculptures are in the Schwerin Castle Church .

altar

Choir and altar

After the church visit of 1811 there should have been enough altars in the church. One was open, the other surrounded by a communicant bench. Another old, dismantled altar stood torn apart in a chamber in the church. The open altar was 13 feet high and 7 feet wide, old work and very simple. There was a crucifix on the altar and two female and male figures on either side.

The neo-Gothic winged altar with extensive carvings and cracks, altar table, altar barrier and the predella was made in 1857 by the Schwerin master carpenter Johann Christiansen based on a design by Theodor Krüger.

Based on the ideas of the Schwerin court painter Gaston Lenthe, he made a reduced-scale model of the altar in 1856, which is still in the State Museum in Schwerin today. On the painting in the altarpiece, Christ appears on the cross, next to him the mother Mary and John, at the foot of the cross Mary Magdalene. The left wing shows three women who followed Christ in Galilee, on the right one sees the unknown captain, who is pointing with his right hand at the cross and looking at the community in Roman legionnaires' clothing. Joseph of Arimathea and Nicodemus appear next to him. Gaston Camillo Lenthe painted the three paintings in the shrine and the two side wings in 1857, which are decorated with extensive gold-plated ornamental carvings. The painting in the predella depicting the Last Supper was made by the history painter Gustav Stever in Hamburg in 1864. In 1865 he received 600 gold coins from the monastery office and the Lüthgens gilder from Güstrow for the gold strip to surround the painting 28 Courant.

organ

One of the few unrealized theses about Protestant church building concerns today's organ. This is not, as requested, in the west of the church, but in the northern crossing section of the building. A room was specially created for them, but it cannot be called a cruise ship, even if this impression is created in the exterior. According to plans by Berlin's senior building officer Friedrich August Stüler from 1852, the new organ was to be installed on the nuns' gallery, where the seats of the conventual women were. The state parliament also rejected this proposal for reasons of cost.

The Wismar architect Heinrich Thormann provided the design for the organ prospect with case in 1855. The organ (II / P / 20) was built in 1857 by the organ builder Ernst Sauer from Friedland . After several repairs to the defective instrument and several processes, the Schlag & Söhne organ building company from Schweidnitz received the order to build a new organ in 1892 . The Schwerin court organ builder Friese was too expensive. The inauguration took place on August 13, 1893. The local committee thus convinced itself of the correctness of the opinion given by Music Director Massmann in Wismar, according to which the new work, if not one of the largest and most powerful, is at least one of the most effective in our country, in relation to his Establishment but must be described as one of the most outstanding in all of Mecklenburg.

Soviet soldiers who occupied the monastery church in 1945 demolished the organ. In 1953 the Potsdam organ builder Alexander Schuke Potsdam gradually restored them. After the church was closed by the building authorities in 1979 and increasing moisture damage, Wolfgang Nussbücker from Mecklenburg Organ Builders in Plau am See removed parts of the organ and the pipework and stored them. The organ builder Andreas Arnold from Plau am See started dismantling the remaining parts of the old organ on November 5, 2018.

The new organ is to be finished by the end of 2020 and will be dedicated to the 800th anniversary of the monastery in Dobbertin. On May 18, 2020, the first basic frame for the new organ was installed by the organ builder Andreas Arnold and his employees from Plau am See. The organ will have two manuals and a pedal, 28 registers and 1660 pipes. The smallest pipe is only 12 millimeters and the largest 4.80 meters long. Most of the woods used - spruce, pine, oak and ash - come from the region. The two information boards about the organ and the Friends of the Organ Klosterkirche Dobbertin were made by the restorer Andreas Baumgart and installed in July 2020. On August 13th, 2020, in the presence of Pastor Christian Hasenpusch, the new church musician Christian Wiebeck and the chairman of the Friends of the Organ, Dr. Claus Cartellieri the Plauer organ builder Andreas Arnold with the intonation of the new organ.

Wheel candlesticks

Wheel candlesticks before restoration

The lighting in the church, especially during evening services, was inadequate with the two small bronze chandeliers donated in 1727 by the then Domina Sophia Catharina von Bülow . In 1884, the convent with Domina Hedwig von Schack wanted two larger chandeliers with gold bronze, which were to be paid for from the monastery treasury, in line with the architectural style of the church. Only the monastery pastor Friedrich Pleßmann complained to the Oberkirchenrat in Schwerin about the giving away of church property without the approval of the upper bishop. In 1885, the Berlin master builder Dörflein made the drawings for the chandeliers and wall lights and the monastery captain, District Administrator Wilhelm Thedwig von Oertzen, ordered the art locksmith Marcus in Berlin with the remark that the sum from the monastery treasury was excellent . The two wrought-iron wheel candlesticks for 56 candles were delivered at the end of 1885, but after putting them together they did not come through the church door, they were too big. The Dobbertiner master mason Andreas had measured himself for inexplicable reasons by two meters. The art locksmith Marcus refused to take it back to make it smaller. Another embarrassing incident occurred when the conventual Mathilde von Rohr even described the new black candlesticks as a monster of ugliness . The necessary downsizing of the two chandeliers was carried out by master locksmith Paulus Johr in Prenzlau for 1000 marks as a change in costs. For reasons of equity , no recourse was made to the master mason Andreas. Master locksmith Johr downsized the chandeliers and put them in a fairly correct proportion.

After 130 years, the first of the two wheel chandeliers was restored in 2017 by the metal restorer Thomas Fischer from Mühlen Eichsen . In 2019, the restoration of the second wheel chandelier was completed with hand-made LED candles instead of candles.

Bells

The oldest still existing bronze bell, cast in 1760 by the bell founder Schulz from Rostock, hangs in the gable of the Dobbin cemetery chapel today . You can read the names of Domina Oelgard Anna Ilsabe von Krusen, the commissioner Johann Dietrich von der Osten , the heir and monastery captain Jobst Heinrich von Bülow auf Woserin and the chef Engelck Paschen Friese.

The revision committee was of the opinion that the monastery church, which had been built at great expense in its present beauty, was perfectly justified to give the approval retrospectively. After the presence of the bell founder Gustav Collier, an advantageous contract was signed for the delivery of a new bell for the church in Dobbertin. The belfry, which extends over two towers, carries two hard cast iron bells after Friedrich Wilhelm Schilling from 1957 and a small bronze bell cast in 1872 in the bell foundry of Gustav Collier in Berlin-Zehlendorf.

Among the two bronze bells that were melted down for war purposes in 1942 was the one that was only cast in 1934 with the inscription:

IN THE 9TH YEAR OF THE REICH PRESIDENT OF HINDENBURG IN THE SECOND YEAR OF THE REICH CHANCELLOR ADOLF HITLER.

The bell, cast in 1859 by Peter Martin Hausbrandt from Wismar, was also melted down.

Tower clock

After the big tower clock had been in very bad shape, in 1746 the clockmaker Nicolaus Christian Voss from Güstrow was given the supervision, maintenance and repair of the tower clock for another four years. From 1774 the clockmaker Samuel Hoffer from Sternberg was responsible for the supervision and maintenance of the large tower clock. Around 1800 the monastery clock was wound up by the cook Erich from the monastery office.

In the inventory list of all objects in the monastery church compiled on July 26, 1811 by the Goldberg pastor Joachim Johann Birkenstädt for the late Dobbertiner pastor Hoppe, under XII. The following is noted from the church clocks: There is a church clock in the tower. It has good numbers, goes right, and strikes a quarter of an hour. In 1846 the bailiff Hoefke was responsible for winding the tower clock.

The current tower clock, which is erected above the bell chamber , was built in 1861 by the clockmaker E. Rösner in Berlin. The precisely crafted and well-preserved work is fully operational. The clock has a Graham lever escapement in the movement and is equipped with a quarter and hour strike. In 2007, the copper, gold-plated clock hands and the clock bells were restored. After cleaning the original clockwork, it was reinstalled in the tower clock cabinet. For reasons of monument preservation, the original clockwork was not fitted with an electric elevator. As in the past, the movement has to be wound manually every week at a height of 24 meters.

Nuns gallery

Walled up door to the nuns gallery from the southern cloister building
Provisional and monastery captain Jobst Hinrich von Bülow

The nuns 'choir in the monastery church, also known as the nuns' gallery , was considered a separate room for the women's convent and part of the cloister. Little information is known about the nuns choir from the time as a nunnery. During the Reformation years , the nuns' gallery was mentioned several times. In the visitation protocol of September 17, 1557, it can be read that the upper choir is now being walled up and a door from the cloister into the church is to be broken. The former walled-up portal of the nuns 'gallery to the dormitory , the nuns' dormitory in the eastern cloister building, is still there. When the masons tried to carry the bricks up, the nuns threw stones, water pourings and prayer books on them on the choir. A dulle nunnery took place here that lasted for years and was probably unique in Mecklenburg .

Between 1746 and 1749 Jobst Hinrich von Bülow auf Woserin , who was still provisional at the time, had the upper church repainted and furnished as a newly built Miss Choir . The floor is still made of diamond-shaped clay tiles glazed in blue, green and white. Later patched up with square unglazed tiles and provided on both sides of the altar barrier with two round openings with a diameter of 1.20 m and an accessible grille cover. In July 1746, the Dobbertiner carpenters Hans Andresen and Peter Pickert laid a floor made of fir boards at the same height under the prayer boxes. The required nails and glue were given by the monastery office.

The size of the nuns' choir corresponds to the lower church and extends over the four western bays, whereby the fourth bay can only be used to a limited extent due to the trapezoidal closure. The room, which is 12.60 meters long and 9.70 meters wide, is only illuminated with daylight through three windows on the north side. The floor consists of diamond-shaped glazed clay tiles in blue, green and white.

On the plaster of the south wall of the nuns' gallery, findings relating to the painting around 1300 have been preserved. The color findings show large stone blocks with red double joints painted on the interior walls. All ribs were monochrome red and provided with alternating rib and crown ornaments. This is the first version on the brickwork. Up to the extensive internal restoration, three more white frames can be detected on the walls and vaults. During the securing work on endangered vaults and belt ribs above the nuns' gallery, the restorers Andreas Baumgart and Heiko Brandner found an angel figure in a northern vault gusset in 1996. In her right hand she has a trumpet and in her left she is holding a banner with the inscription Your right and some son.

By Christmas 1749, all work on the Dobbertin church building on the nuns' gallery was completed. In the main registers for the years 1746–1749, the master chef Engelck Paschen Friese had precisely recorded all the costs spent on the craftsmen, including their materials, right down to the food register. The following craftsmen were involved in the newly built Fräulein Chor: the organ builder Schmidt from Rostock, the sculptor Klinckmann from Rostock, the barrel painter Bromann from Rostock, the turner Grünwald and the master carpenters Andreßen and Pickert from Dobbertin, the glazier Koencke from Goldberg, the master carpenter Seydell and the Board saws Jacobs and Guhl from Dobbertin, the master bricklayer Finkenwirt and the blacksmith Podol from Dobbertin, the merchant Gerts from Goldberg for nails supplied and the freight driver Brun for the organ transport from Rostock. Not to forget the notary and organist Knöchell while examining the organ, as was even noted in the food register.

A room closure is created in front of the third yoke by the wooden wall that was inserted in 1857 and occupies the entire width, with the stalls for the conventual women facing the east choir.

Today the nun's choir can be reached via the supplementary building made of steel, glass and exposed concrete, which was completed in 2006, in place of the fire gap between the existing east wing of the enclosure and the south wall of the monastery church. The supplementary building is considered the main access to the four cloister buildings with the cloisters on the ground floor and the school on the upper floor as well as access to the nuns' gallery.

Prayer boxes

Southern prayer box on the nun gallery, above it the coats of arms of the conventual women

On the north and south sides of the nun's choir, the prayer boxes extend over the entire length of the room of 12.60 m. They are 1.90 m wide, 3.25 m high, consist of 16 axes and were made of softwood from July 1746. The rich structure of the boxes is achieved by profiles, pilasters and the octagonal lower fields. Since the frame fields are open, a window-like effect is characterized. Above the row of windows, a richly profiled cornice closes off the front. Above the two central boxes, the cornice merges into a sloping gable top. The following text is noted at the south box: To honor God, to adorn the churches is our sole DIRECTIO of the captain JH v. Bülow, on Woserin as the current RESP in both years the only head of this monastery du office of the whole internal church building started in 1746 and finished in 1749. In the middle of the text is the von Bülow coat of arms. On the north side there is a short text in the gable top of the lodge: M. v. Bülow Domina from Bölckö. In the center again the coat of arms of those von Bülow. There were subsequent changes in the southern prayer box at the western end through the entrance area there. In the last two parapet areas there are only rectangular panels.

On July 1, 1746, the Dobbertiner master carpenters Hans Andreßen and Peter Picker were commissioned by the monastery captain, Privy Councilor Henning Friedrich Graf von Bassewitz on Prebberede , to build the two prayer boxes with an arched roof as a vaulted roof . There were also precise contractual stipulations for the execution of the panels, doors and chairs, especially those for Miss Domina. The Rostock painter Ezechiel Bromann was commissioned by the monastery captain Henning Friedrich Graf von Bassewitz to paint the prayer boxes on March 27, 1747. The barrel painter and his people had to paint the newly built Fräulein Chor in the following way, well and without blame . The roof, the frames, the profile strips and the large and small pillars were painted black and marbled gray. Everything should be done with real colors. The gilding of the capitals should be done with fine ducate gold . In the supplementary contract of August 1, 1749, barrel painter Bromann was urged by the monastery captain Jobst Hinrich von Bülow to paint 26 coats of arms of the resident nuns in multiple colors in the lower panels. Bromann promised to add real color to all of these coats of arms, should it be necessary to add gold and silver. Herr Hauptmann von Bülow's coat of arms, name and year with text in gold-bronze color was also executed.

Ladies chairs

Facing eastward on the nuns' choir, the stalls for the conventual women that were created in 1857 fit in with the trapezoidal closure of the lower church. Two monumental tabernacle-like pinnacles flank the stalls. A late Gothic choir stalls served as a model. The connected chairs with cheeks and backrests, divided into individual arbors, are roofed like a canopy and adorned with small pinnacles. In front of it were the 32 upholstered chairs of the conventual women in two rows, in the middle stood the slightly larger chair of Frau Domina. On the wall there was a continuous bench for the girls of the convent ladies.

On February 17, 1856, the Wismar master builder Heinrich Thormann informed the monastery leaders that the draft for the trial chair for the ladies' choir would not be ready for three weeks. On April 6, 1856, Thormann delivered the test chair to the monastery captain Otto Julius Freiherr von Maltzan in Dobbertin. It was pretty, too expensive, and needed minor changes.

Pulpit altar

Pulpit altar condition 2011

On the west side of the nun's choir is the altarpiece, which was used in the church at the main altar until 1857 . It is connected to the pulpit made by the Rostock sculptor Johann Andreas Klinkmann between Easter and Whitsun 1747.The strictly architecturally structured pulpit altar consists of an altar screen , cafeteria , predella and reredos with pulpit basket and sound cover . The altar barrier was worked as a balustrade. Above the turned rods is a light gray painted, emphatically wide handrail at a height of 1.10 m with doors inserted at the side. The cafeteria, 1.00 m high and 2.30 m wide, as a simple black-framed box, looks very bulky and unsuitable for the otherwise delicate pulpit altar. On the cafeteria there was a 1.08 m high altar cross with pointed and gilded endings. The predella as the basis for the altarpiece is structurally not independent. A visual separation is made by wide continuous profiles in the lower and upper area. In the central part of the predella there is a 1.36 m wide and 0.53 m high painting of Holy Communion on a black wooden background. The painting is comparatively artificial in a way that was not typical at that time. A copy of an earlier work would be possible. Above the painting, three volute brackets grow out of leaf grooves that support the pulpit altar. These are flanked by two marble imitation pilasters that end with gilded Corinthian capitals . Visually, the two pilasters form the supporting structure for the richly profiled and laterally protruding black-framed cornice . On the lower edge of the pulpit basket sit the evangelists John and Luke, who can be named by their symbols. The eagle appears next to Johannes and only one wing of the bull next to Luke. The two sculptures are well crafted, the hard, disordered robe reveals inner emotion when the gospel is being recorded, which is proclaimed from the pulpit. This moment was effectively staged by the sculptor Klinkmann. Luke's eye contact with the preacher standing in the pulpit clearly underlines this.

The pulpit cage extends upwards and downwards. At the top it is closed by a wide profile. The sound cover is richly profiled and adapts to the contours of the pulpit. The underside of the lid is decorated. Above the sound cover, from which a carved, ruffled curtain frames the exit into the pulpit, an angel hovers down from the clouds with a book, presumably the Holy Scriptures. The monumental coronation is the eye of God in a gold-framed halo. The pulpit protrudes 0.70 m from the reredos. The 0.80 m wide staircase to the pulpit with dark gray framed railing begins in the western aristocratic arbor on the north side was built in 1857 and locked with a door.

On July 3, 1746, the Rostock sculptor Johann Andreas Klinckmann signed the contract for the construction of the altar and the pulpit in the Closter Church in Dobbertin with the provisional Jobst Hinrich von Bülow auf Woserin in the administrative building of the Dobbertin monastery. Sculptor Klonckmann promised to deliver the altar, which was also the pulpit, between Easter and Pentecost of the coming 1747 year, probably well and diligently made. To have the painting work done with genuine glossy gold, black lacquer and white polishing , so that there should be no rebuke in either his or the painter's work. The stairs are made of fir and cloister-Ambt-Holtz except for the masonry and lock work . The sculptor has the free delivery of the pulpit from Rostock and enjoys free maintenance when it is erected. The conclusion of the contract is also interesting: Finally, both contracting parties promise to faithfully fulfill this contract in all its clauses and points, with the issuance of all and every excuse they have names as they want . The contract was officially signed and sealed by both parties.

organ

From 1747 to 1854 there was still a small organ on the pulpit altar on the west side of the nuns' gallery . It was made in 1747 by the Rostock organ builder Paul Schmidt as his first organ. For this purpose, the following organ building contract was concluded on May 15, 1746 when the Closter Church was repaired in 1746. Herewith I am to know that today between Sr. Hochwohlgeboren the captain von Bülow, provisional agent of the noble cloister Dobbertien and the organ builder Mr. Paul Schmidt about the new organ to be built in the Dobbertin church, the following contract was made and closed. In a year and a half, Mr. Schmidt promised to manufacture the organ in good faith without any damage, and to deliver it in fully built condition, namely according to the following disposition, as two pianos in the upper and lower parts and pedal. The clavire with box tree Holtz, the Semitonia Schwartz Eben Holtz. The asbstractuer, with Messing's wires, the Messing's springs, with screws. Three good bellows 12 feet long and 6 feet wide, glued with steed veins, and double-glued Schaaffs leather. The Windt-Laden from quite truckenem Holtz, and two oaks. The two keyboards are linked. The pianos of four full octaves. That pedal, from the capital C bit a crossed d. The provisional von Bülow promised to pay 750 new Reichstaler a deposit from the organist Hüsern from Rostock of 200 Reichstaler. The work on the organ was completed by Christmas 1747 with the help of his son, the organ builder Heinrich Schmidt. According to the main register of expenses, on January 16, 1748, the organ builder Schmidt zu Rostock was paid 783 Reichstaler. The organ builder Schmidt received the necessary free transports from the monastery office in order to be able to drive his entire organ work to the monastery church and to set it up there without errors. Schmidt also promised to come to Dobbertin as often as it should be and there should be defects in the organ in the next three years. The master carpenter Seydell made the frame, the substructure for the organ. The sculptor Johann Andreas Klinckmann delivered the organ case with the decorated foliage from Rostock.

The Goldberg pastor Joachim Johann Birkenstädt noted during the church visit on July 26, 1811 that this new organ was a successful work: It is in excellent condition, has 2 pianos and a pedal. That the organ builder had carried out regular inspections is noted in 1769: The Dobbertiner organ has been visited twice every year for 20 years since I had it made at the time, and due to the frequent improvements it still sounds like that good, when it was recognized and accepted for the first time ... In 1821 repairs were carried out by the organ builder Friedrich Friese II from Parchim . In 1843, according to the accounting book, the cost of the organ was repaired and the cost of an expert was 829.44 Courant. In 1849, the landlord Sandberg received 10.5 Courant from the Dobbertiner Dorfkrug for lodging and food for the organ builder Friese II. During these years, the kitchen master Johann Christoph Friedrich Behrens was also an organist in the monastery church as a tax officer in the monastery office.

The original plan of the monastery rulers to repair the existing organ during the internal church restoration, which began in 1854, for which Courant was estimated to be 1500, has after closer investigation, if not impractical, but inexpedient. Pastor Wilhelm Wöhler from Ribnitz, who was the first authority in Mecklenburg in relation to assessments of organs, also advised a new organ.

coat of arms

Coats of arms of the conventual women in Güstrow Castle 2010
Conventual Helene von Lützow

According to an old monastery order, when the noble daughters entered the women's monastery, their own coat of arms and that of their parents were to be affixed as an alliance coat of arms in the monastery church as a lasting memory. In Dobbertin, the coats of arms were lined up on the nun's gallery in the shield arches of the three western bays of the south wall above the prayer box and on both sides of the pulpit altar on the west wall. More than 240 colored coats of arms of 84 noble families once adorned these windowless wall surfaces. The surviving historical photos show that the coats of arms were implemented many times. The current hanging is based on the last historical photos.

In the late autumn of 1749, the monastery captain Jobst Hinrich von Bülow had the Rostock barrel painter Ezekiel Bromann paint the coats of arms of the nuns living here on the parapets of the individual boxes. There are 14 coats of arms on the southern prayer box. From right to left the coats of arms are Bessel as the first civil conventual, Catharina Sophia von Peddersdorff, FM von Stralendorff, Caritas von Bülow, ED von Oldenburg, Anna Friderica von Bülow, Sophia Charlotte von Oldenburg, Charlotte Sophia von der Lühe, MD von Rieben, Magdalene von Plessen, Elenora von Behr. On the northern prayer box, from right to left, there are 16 coats of arms of Dorothea von Winterfeldt, Eva Dorothea von Weltzien, CA von der Lühe, EA von Bülow, AAI von Wangelin, AE von Preen, AMS von Lützow, VB von Bülow, AM von Zeppelin , B. von Lützow, ED von Zülow.

After the withdrawal of the Russian occupation soldiers in 1947 and further looting, all the coats of arms in the bottom three rows were missing. In 1989, 153 colored metal coats of arms with 231 coats of arms of 75 noble families, whose daughters lived in the women's monastery from 1774 to 1933, could be secured.

Since 2019, the first of the still existing colored coats of arms made of cast lead-tin have been on the south wall of the nun's gallery.

swell

Printed sources

Unprinted sources

  • State Main Archive Schwerin (LHAS)
    • LHAS 1.5-4 / 3 documents Dobbertin monastery.
    • LHAS 2.12-3 / 2 Monasteries and orders of knights, Dobbertin Monastery.
    • LHAS 2.12-3 / 4 churches and schools.
    • LHAS 2.12-3 / 5 church visits.
    • LHAS 3.1-3 / 2 Provincial Monastery / Monastery Office Dobbertin.
    • LHAS 3.2-4 Knightly fire insurance company.
    • LHAS 5.11-2 Landtag assemblies , Landtag negotiations , Landtag minutes , Landtag committee.
    • LHAS 5.12-4 / 1 Department of Agriculture, Domains and Forests.
    • LHAS 5.12-5 / 1 Ministry of Finance. Building construction Amt Parchim, 1849–1945.
    • LHAS 5.12-9 / 5 Parchim district office.
  • State Church Archives Schwerin (LKAS)
    • LKAS, OKR Schwerin, Specialia, Dobbertin, Dept. 1. No. 005, 006 Preacher 1792–1998.
    • LKAS, OKR Schwerin, Specialia, Dobbertin, Dept. 1 No. 008, 009 organists and sextons 1825–1993.
    • LKAS, OKR Schwerin, Specialia, Dobbertin, Personalia and exams.
    • LKAS, OKR Schwerin, Dobbertin, ecclesiastical buildings vol. 1–3, 1830–2001.
    • LKAS, OKR Schwerin, Dobbertin, monastery church 1965–1996.
    • LKAS, OKR Schwerin, Kirchhof 1881–1996.
  • State Office for Culture and Monument Preservation (LAKD)
    • Local files Dobbertin, monastery church.

literature

  • Horst Alsleben : On the history of the Dobbertin monastery. The Dobbertin monastery church. In: The village, town and monastery churches in the nature park and its surroundings. (= From culture and science. Issue 3). Karow 2003, pp. 98-107.
  • Horst Alsleben: compilation of all personalities of the Dobbertin monastery. Schwerin 2010-2013.
  • Horst Alsleben: Dobbertin near Goldberg. In: Mecklenburg-Western Pomerania, Saxony-Anhalt, Thuringia and Saxony. (= Germania Benedictina. Volume 10.). St. Otillien 2012, ISBN 978-3-8306-7571-6 , pp. 295-301.
  • Horst Alsleben: The double-towered monastery church. In: STIER and GREIF. Homeland booklets for Mecklenburg-Western Pomerania. Issue 2, Rostock 2017, ISBN 978-3-356-02083-0 , pp. 18-22.
  • Horst Alsleben: Heinrich Gustav Thormann from Wismar and the Dobbertiner monastery church. In: Wismar contributions. Series of publications from the archive of the Hanseatic City of Wismar. Issue 23, Wismar 2017, pp. 80–95.
  • Horst Alsleben: Dobbertin Monastery - 800 years of Mecklenburg history. In: MPF series. Issue 18, Tellow October 2018, ISBN 978-3-946273-04-2 , pp. 161–179.
  • Horst Alsleben: The double-towered monastery church Dobbertin. In: Central German yearbook for culture and history. Volume 26, Bonn 2019, ISBN 978-3-9818871-9-8 pp. 255-258.
  • Axel Attula: decorations for women. Evangelical women's pens in Northern Germany and their medals. Schwerin 2011, ISBN 978-3-940207-21-0 .
  • Claus Cartellieri: On the history of the organs of the Dobbertin monastery. In: Mecklenburgia Sacra. Volume 15, Wismar 2012, pp. 144–157.
  • Georg Dehio : Handbook of the German art monuments, Mecklenburg-Western Pomerania. Munich, Berlin 2000, ISBN 3-422-03081-6 , pp. 116-118.
  • Dobbertin Monastery, History - Building - Life. (= Contributions to art history and monument preservation. Volume 2). Schwerin 2012, ISBN 978-3-935770-35-4 .
  • Dirk Handorf: Monastery Church Dobbertin. Conservation objectives for the interior areas of the monastery church. Schwerin, 1990. (unpublished)
  • Kristina Hegner: From Mecklenburg's churches and monasteries. The medieval inventory of the State Museum Schwerin. Petersberg 2015, ISBN 978-3-7319-0062-7 .
  • Katharina Henze: renovation and securing of the monastery church. In: Festschrift on the occasion of the inauguration and opening of the renovated cloister area in the Dobbertin Monastery in 2006. Dobbertin 2006, pp. 48–51.
  • Hans Hopkes, Horst Alsleben: Old monastery with new tasks: renovation work on the Dobbertin monastery in Mecklenburg. In: Bundesbaublatt . 4, 1998, pp. 54-57.
  • Reinhard Kuhl: 19th century glass paintings. Leipzig 2001, ISBN 3-361-00536-1 , pp. 67-68.
  • Ingrid Lent: high altar and choir window in the monastery church. In: Dobbertin Monastery. History - building - living. (= Contributions to the history of art and the preservation of monuments in Mecklenburg-Western Pomerania. Volume 2) Schwerin 2012 ISBN 978-3-935770-35-4 , pp. 229–241.
  • Ingrid Lent: Gaston Lenthe . A Schwerin court painter. Schwerin 2012, ISBN 978-3-940207-33-3 .
  • Friedrich Lisch : The church and the monastery at Dobbertin. In: Yearbooks of the Association for Mecklenburg History and Archeology. Volume 8, 1843, pp. 130-133 ( dlib.uni-rostock.de or books.google.com ).
  • Ernst Münch , Horst Alsleben, Frank Nikulka, Bettina Gnekow, Dirk Schumann: Dobbertin, Monastery S. Maria, S. Johannes Evangelist (Ordo Sancti Benedicti / Benedictine Sisters). In: Wolfgang Huschner , Ernst Münch, Cornelia Neustadt, Wolfgang Eric Wagner : Mecklenburg monastery book. Manual of the monasteries, monasteries, comers and priories. (10th / 11th - 16th century). Volume I, Rostock 2016, ISBN 978-3-356-01514-0 , pp. 177-216.
  • Paul Martin Romberg: The early Romanesque baptismal font of the Wends and Obotrites. Alt Meteln 2015, p. 97.
  • Fred Ruchhöft : The development of the cultural landscape in the Plau-Goldberg area in the Middle Ages. (= Rostock studies on regional history. Volume V). Rostock 2001, ISBN 3-935319-17-7 .
  • Friedrich Schlie : The art and history monuments of the Grand Duchy of Mecklenburg-Schwerin. IV. Volume: The district court districts of Schwaan, Bützow, Sternberg, Güstrow, Krakow, Goldberg, Parchim, Lübz and Plau. Schwerin 1901. (Reprint 1993, ISBN 3-910179-08-8 , pp. 349-371).
  • Tilo Schöfbeck: Medieval churches between Trave and Peene. Berlin 2014, ISBN 978-3-86732-131-0 .
  • Dirk Schumann : Dobbertin Monastery, art guide. Kunstverlag Peda, Passau 2012, ISBN 978-3-89643-878-2 .

Web links

Commons : Klosterkirche Dobbertin  - Collection of pictures, videos and audio files
  • Literature on the monastery church Dobbertin in the state bibliography MV.

Individual evidence

  1. Frank Nikulka, Frank Wietrizichowski: Archaeological evidence on the history of Dobbertin Monastery Peninsula. 2012, p. 77.
  2. Tilo Schöfbeck: Medieval churches between Travelodge and Peene. 2014, pp. 85–86.
  3. MUB I. (1863) No. 344, 463.
  4. LHAS 2.12-3 / 2 Monasteries and orders of knights. No. 416 List of provosts.
  5. MUB I. (1863) No. 417, 463, 523.
  6. MUB I. (1863) No. 425.
  7. ^ Ernst Münch: On the medieval history of Dobbertin monastery. 2012, p. 13.
  8. ^ Andreas Röpcke: Letter and Seal - Notes on the documentary tradition and the seals of the Dobbertin Monastery. 2012, pp. 20-25.
  9. Horst Alsleben: List of the personalities of the Dobbertin monastery .
  10. Tilo Schöfbeck: dendro from churches between Travelodge and Peene. 2014, p. 362.
  11. LHAS 5.11-2 Minutes of the Landtag. November 13, 1839, no.22.
  12. a b Horst Alsleben: Two towers, two builders. The Dobbertin monastery church was re-inaugurated 160 years ago, a journey back in time. In: Mecklenburgische & Pommersche Kirchenzeitung. No. 40, October 8, 2017.
  13. Horst Alsleben: Dobbertin's double-towered church. In: SVZ Schwerin, Mecklenburg-Magazin. October 6, 2017.
  14. LHAS 5.11-2 Minutes of the Landtag. November 15, 1876, no.22.
  15. LHAS 5.11-2 Minutes of the Landtag. November 14, 1877, No. 14.
  16. Katharina Henze: Restoration, renovation and securing of the monastery church. 2012, p. 276.
  17. Inscription on the plaque on the northern side of the southern spire copied on October 24, 1990 by Horst Alsleben.
  18. Dirk Handorf: Objective for the preservation of monuments for the interior of the Dobbertin monastery church. Schwerin 1990, pp. 29-21.
  19. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 869 Official Protocols 1830–1836.
  20. Katja Haescher: Gravestone of the master mason. SVZ, Mecklenburg-Magazin, March 27, 2020.
  21. ^ Joachim Johann Birkenstädt: Church visitation concerning the church in Dobbertin. X. from the sacristy. July 26, 1811.
  22. Dirk Handorf: Objective for the preservation of monuments for the interior of the Dobbertin monastery church. Schwerin 1990, pp. 19-20.
  23. LHAS 5.11-2 Minutes of the Landtag. November 12, 1884, No. 26.
  24. Bernhard Junski :! 00 million project is making good progress. SVZ Lübz-Goldberg-Plau, November 17, 1992.
  25. Kristina Hegner: From Mecklenburg's churches and monasteries. The medieval inventory of the State Museum Schwerin. 2015.
  26. Horst Alsleben: Art treasures of the monastery church. Medieval carvings are kept in the museum. SVZ LÜbz-Goldberg-Plau, October 31, 1995.
  27. Kristina Hegener: From Mecklenburg's churches and monasteries. 2015, pp. 67–68. Inv no. PI 1-3.
  28. Kristina Hegener: From Mecklenburg's churches and monasteries. 2015, pp. 98-99, Inv. No. PI 50.
  29. Kristina Hegener: From Mecklenburg's churches and monasteries. 2015, pp. 92-93, Inv. No. PI. 53.
  30. Kristins Hegener: From Mecklenburg's churches and monasteries. 2015, pp. 91–92, inv. No. PI. 52.
  31. Horst Alsleben: Art treasures of the monastery church. Medieval carvings are kept in the museum. SVZ, Lübz-Goldberg-Plau, October 31, 1995.
  32. LHAS 5.11-2 Minutes of the Landtag. November 12, 1884, No. 26.
  33. Dirk Handorf: Objective for the preservation of monuments for the interior of the Dobbertin monastery church. Schwerin 1990, p. 28.
  34. ^ Martin Romberg: Dobbertin near Goldberg. In: The early Romanesque baptism of the Wends and their princely family. 2015, p. 97.
  35. Horst Alsleben: Overcome the turmoil of the centuries. Mecklenburg Church Newspaper, April 10, 1994.
  36. Horst Alsleben: oldest baptismal font. SVZ Lübz-Goldberg-Plau, November 15, 1993.
  37. LHAS 5.12-4 / 2 Ministry of Agriculture, Domains and Forests. No. 8606.
  38. ^ Carsten Neumann: The font of the Dobbertiner monastery church from 1586 .
  39. ^ German-Dutch Society: Traces of the Dutch in Northern Germany. Historic Sites in Mecklenburg-Western Pomerania. Dobbertin, monastery church. 2001, pp. 96-97.
  40. Horst Alsleben: Treasures in the monastery church. SVZ Lübz-Goldberg-Plau, September 19, 1996.
  41. ^ Friedrich Schlie: The Dobbertin Monastery. 1901, p. 366.
  42. ^ Joachim Johann Birkenstädt: Church visitation concerning the church in Dobbertin. Dobbertin, July 26, 1811.
  43. LHAS 5.11-2 Minutes of the Landtag. November 15, 1876, no.21.
  44. LHAS 5.11-2 Minutes of the Landtag. November 14, 1877, No. 13.
  45. Horst Alsleben: Medieval triumphal cross discovered in Dobbertin monastery. SVZ Lübz-Goldberg-Plau, July 31, 1996.
  46. Katja Haescher: A wooden cross returns. SVZ Mecklenburg-Magazin, March 20, 2020.
  47. Tilo Schöfbeck: Dobbertin, medieval wooden cross. Schwerin, February 25, 2020.
  48. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3235 Negotiations and expert opinions on the redesign of the church in Dobbertin 1854–1857.
  49. LHAS 5.11-2 Minutes of the Landtag. November 28, 1866, No. 8.
  50. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3235 Negotiations and expert opinions on the redesign of the church in Dobbertin 1854–1857.
  51. Horst Alsleben: A Dobbertiner created the four apostles in the monastery church. SVZ Lübz-Goldberg-Plau, October 18, 1994.
  52. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3235 Negotiations and expert opinions on the redesign of the church in Dobbertin 1854–1857.
  53. Horst Alsleben: Saints in Dobbertiner hands. SVZ Lübz-Goldberg-Plau. 28/29 July 2007.
  54. Horst Alsleben: At the original place. SVZ, Mecklenburg-Magazin, February 25, 2008.
  55. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. N. 1278, 1280. Main register 1847-1850.
  56. ^ Andreas Baumgart: Work report on the restoration of the evangelist figures in the Dobbertin monastery church. Rethwisch, 2007.
  57. ^ Joachim Johann Birkenstädt: Church visitation concerning the church in Dobbertin. III. From the church altars. July 26, 1811.
  58. Dirk Handorf: Objective for the preservation of monuments for the interior of the Dobbertin monastery church. Schwerin 1990.
  59. The Dioscuri. Deutsche Kunstzeitung, Berlin 1856, p. 177.
  60. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 1301 main register 1864–1865.
  61. LHAS 5.11-2 Minutes of the Landtag. November 16, 183, No. 4.
  62. LHAS 5.11-2 Minutes of the Landtag. November 15, 1893, No. 10.
  63. Dobbertin monastery church gets a new organ , NDR announcement from November 5, 2018, accessed on November 5, 2018.
  64. Werner Mett: North Church helps eight organs. SVZ Goldberg-Lübz-Plau. February 8, 2019.
  65. Sebastian Kabst: Organ in Dobbertin: Queen of Instruments abdicates. SVZ Goldberg – Lübz –Plau, November 6, 2018.
  66. Michael-G. Bölsche: Provided the right framework. Installation of the new organ in the monastery church has started. SVZ Lübz – Golsberg – Plau, May 19, 2020.
  67. Miachael-G. Bölsche: The monastery organ preserves its soul. SVZ Lübz-Goldberg-Plau, August 14, 2020.
  68. Horst Alsleben: The history of the chandelier. SVZ Lübz-Goldberg-Plau, 17./18. June 2017.
  69. LHAS 5.11-2 Minutes of the Landtag. November 12, 1884, No. 33.
  70. LHAS 5.11-2 Minutes of the Landtag. November 11, 1885, No. 20.
  71. Horst Alsleben: Chandeliers did not fit through the door. SVZ Lübz-Goldberg-Plau, July 28, 2007.
  72. LHAS 5.11-2 Minutes of the Landtag. November 23, 1886, no.15.
  73. ^ Horst Alsleben: Mathilde von Rohr and the Dobbertin monastery. Dobbertiner Manuscripts, No. 9, 2015, p. 45.
  74. LHAS 5.11-2 Minutes of the Landtag. November 16, 1887, No. 14.
  75. Sabrina Panknin: More shine for the church interior. SVZ Lübz-Goldberg-Plau, 17th April 2017.
  76. Michael-G. Bölsche: The chandelier is floating again. SVZ Lübz-Goldberg-Plau, 13./14. April 2019.
  77. Horst Alsleben, Kristina Bumb: Bell with a past. SVZ Lübz - Goldberg - Plau, December 22, 2006.
  78. LHAS 5.11-2 Minutes of the Landtag. November 13, 1872, No. 18.
  79. Horst Alsleben: Church without bells. SVZ Lübz - Goldberg - Plau, July 5, 2007.
  80. Claus Peter: The bells of the Wismar churches and their history. 2016, p. 221.
  81. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3159. Contracts for craftsmen 1707–1778.
  82. LHAS 5.11-2 Minutes of the Landtag. November 12, 1800, No. 24.
  83. Katharina Henze: Restoration, renovation and securing of the monastery church. 2012, pp. 284–285.
  84. LHAS 2.12-3 / 5 protocols of church visits. No. 22.
  85. Johann Peter Wurm: The dull nuns Krich - The Reformation of the Benedictine convent Dobbertin 1557–1578. 2012, p. 30.
  86. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  87. Dirk Handorf: Objective of monument preservation monastery church Dobbertin. 1990, p. 18.
  88. Andreas Baumgart: The facade colors and the painting of the monastery church. 2012, pp. 138-139.
  89. Horst Alsleben: Medieval paintings under old layers of paint. Elde-Expres, May 21, 1997.
  90. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  91. Dirk Handorf: Objective of monument preservation monastery church Dobbertin. 1990.
  92. Friedrich Preßler: The coats of arms of the nun gallery. 2012, p. 216.
  93. ^ David Franck: Old and New Mecklenburg. 1756, pp. 369-370.
  94. LHAS 3.2-3 / 1 Landeskloste / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  95. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  96. Dirk Handorf: Objective of monument preservation monastery church Dobbertin. 1990, p. 31.
  97. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  98. ^ Friedrich Schlie: The Dobbertin Monastery. 1901, p. 366.
  99. Dirk Handorf: Objective of monument preservation monastery church Dobbertin. 1990.
  100. Dirk Handorf: Objective of monument preservation monastery church Dobbertin. 1990.
  101. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  102. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  103. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  104. LHAS 3.2-3 / 1 Landeskloster / Klosteramt Dobbertin. No. 3160 Restauro nuns choir 1746–1749.
  105. ^ Joachim Johann Birkenstädt: Church visitation concerning the church in Dobbertin. July 26, 1811.
  106. Claus Cartellieri: On the history of the organs of Dobbertin monastery. 2012, p. 148.
  107. LHAS 5.11-2 Minutes of the Landtag. November 16, 1854, No. 7.
  108. Horst Alsleben: The last coat of arms founder. SVZ, Mecklenburg-Magazin, June 22, 2001.
  109. ^ Information from the restorer Andreas Baumgart on August 23, 2020.
  110. Michael-G. Bölsche: Old coats of arms back in their original place. SVZ Lübz-Goldberg-Plau, 24./25. August 2019.

Coordinates: 53 ° 36 ′ 54 ″  N , 12 ° 4 ′ 39 ″  E